Research Methodology
Chapter 4: Data Collection
4.4 Design Elements of Naamghar: Visual Data collection from selected Satra/Naamghar
4.4.1 Layout
4.4 Design Elements of Naamghar: Visual Data collection from
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bamboo pillars by concrete ones. The floor is traditionally mud, replaced in recent times by concrete. Even then Naamghar is still now a humble structure without any outward show or ostentation.
The traditional Naamghar is usually a rectangular building with a gable roofs, goblet or a hip roof raised on pillars (fig. 4.13) the length of which is aligned in the East- West direction. And the western facade being apsidal. This hall usually has an outer wall, with the main entrance at the west end. There is a verandah around the outer wall, with windows and minor entrances on the north and south sides. Two parallel rows of pillars usually run along the length (fig. 4.14, Fig. 4.16), with the Northeast most pillar called the lai khuta, carrying special significance. The hall might contain idols of mythical figures like Garuda, Hanuman, etc (fig. 4.15) that are mythological Vaishnava devotees, which face east near the western end or north and south near the eastern end.
Fig. 4.13: Ramdiyar Naamghar in Sualkuchi Village (Photograph: Researcher)
Fig. 4.14: Interior of Bangshi Gopal Naamghar at Hajo Pakhamela village (Photograph: Researcher)
Fig. 4.15 (a): Wooden crafted Garuda in Naamghar in Barpeta Satra (Photograph: Researcher)
Fig. 4.15 (b): A village Naamghar (Photograph: Researcher)
A Naamghar of the ancient type (the modern Naamghar is simply an open rectangular hall) consists of a nave and side aisles with rows of wooden pillars separating the nave from the aisles (Fig. 4.16). The size of the Naamghar may vary according to the number of bhakats or disciples it has to accommodate.
106 4.4.2 Manikut (Thapana or Guru Asana)
Fig.4.16: Guru Asana in Naamghar (Photograph: Researcher)
The eastern end of the hall does not in general have doors and windows, though very often it leads to an independent room called Manikut (fig. 4.16) (literally: the jewel hut), also called bhajghar in western Assam, with its own roof. It houses idols representing the worshipful God, or a Guru-Asana (the Guru’s seat). It is fully walled, with either no windows or small ones and also function as a repository of important articles. This room is a later addition to the basic Naamghar structure.
Fig. 4.17: Manikut in Bangshi Gopal Naamghar at Hajo pakhamela village (Photograph: Researcher)
The actual shrine where the sacred scripture is kept is called Manikut. It is a smaller structure than the Naamghar and is generally attached to the latter adjoining the eastern end. In addition to the sacred scripture, all the precious things dedicated to the deity are kept in the Manikut.
The sacred scripture is placed on the Guru Asana (fig.4.17). The Guru Asana, literally the Seat of the Guru is a seven-tiered, triangular, wooden throne adorned by the tortoise-elephant-lion motif (fig. 4.18) and other decorative wood work. Idol worship is absent in a Naamghar and no idol is worshipped, even that of Krishna in any form. The only object of veneration being the sacred text placed on the top-most tier of the Guru Asana. The scripture represents Bhagavanta, the Supreme Being or Mahapurusa who manifests himself as Vishnu or Krishna; it also represents the Guru, his message as well as the highest truth propounded by him.
All activities inside of the Naamghar are directed towards the Singhsana (fig.
2.17), the wooden Pyramid shaped throne for the object of worship (Holy Books) kept at the Eastern end. The wooden shrine, also called The Guru Asana or thapana is draped over and decked out with a richly woven piece of textile known as Gohain Kapoor. The village women weave these intricately woven cotton textiles. Guru Asana can be three, five or seven tiered. The symbolism, as told by the seniors is that of Seven Vaikunthas or Heavens. The tiers are carved at the four corners with tortoise, elephant and winged-lion motif (fig. 4.28).
Fig. 4.18: Tortoise, elephant and winged-lion motif at Guru Asana in Naamghar (Photograph: Researcher)
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The top of the wooden throne holds a shrine (Thapana), fig. 4.19, which has sacred books, composed by Sankardeva and Madhavdeva.
Fig. 4.19: Thapana in Naamghar (Photograph: Researcher)
These include the Dasam, Kirtan Ghosa, Bhakti Ratnavali and Naamgosa.
Sankardeva gave highest importance to the formless universal self. It is represented not by any idols but by holy books.
Fig. 4.20: Manuscripts in Hajo Naamghar (Photograph: Researcher)
Fig. 4.21: Manuscripts in Naamghar (Photograph: Researcher)
The sacred manuscripts, (called Puthi) are hand-written (fig. 4.20 and fig 4.21) on the bark of the Aguru-trees. The Guru Asana also has a decorative cloth canopy hung from four corners called ‘Chandrataap’. The wooden columns are also draped with colourful woven textiles known as Sanchipat. Some books are written on paper made from silk- cotton called Tulapat. These are inferior to Sanchipat. A similar feature is in Sikh religion, where the Guru Granth-Sahib is worship.
4.4.3 Naam-Prasanga
In this ordered set-up, the devotees perform Naam Kirtan or the prayer services, on a regular basis. The service itself is referred to as Naam Prasanga (Fig. 4.22) or simply,
‘Naam’ and the leader of the chant is called Naam Laguwa. The seating arrangement in the Naamghar, with the congregation in two facing rows in front of the Guru Asana, is such that when the congregation bow down in worship to God, they are at the same time bowing down in worship to one another.
Fig.4.22: Naam prasang in Naamghar (Photograph: Researcher)
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The verses sung during the service consist of strings of the many names of God.
First, verses from Madhavdeva’s Naam Ghosa are recited, followed by Kirtan from Sankardeva’s Kirtan Ghosa (fig. 4.23).
Fig. 4.23: Rituals and functions on 1st day of celebration of Doul Mahotsav in Barpeta Satra (Photograph: Researcher)